Ludwig van Beethoven - Symphony No. 9 in D Minor "Choral" Op.125, Herbert von Karajan, 1963.
Gundula Janowitz, soprano; Waldemar Kmentt, tenor; Walter Berry, Baritone; Hilde Rossel-Majdan, contralto. Wiener Singverein, Reinhold Schmid, ChoirMaster.
Herbert von Karajan, Berlin Philharmonic Orchestra.
Recorded: Berlin, Jesus-Christus-Kirche, October & November, 1962
Deutsche Grammophon Gesellschaft, 1963.
Grand Prix du Disque
Parts/Movements
00:00 I. Allegro ma non troppo
15:28 II. Molto vivace
26:28 III.Adagio molto e cantabile
42:53 IV. Presto -
49:15 V. "O Freunde, nicht diese Töne" - Allegro assai
On May 7, 1824, Ludwig van Beethoven experienced what must certainly have been the greatest public triumph of his career. The audience which gathered at the Hoftheater adjacent to the Vienna Kärtnertor heard not only the abridged local premiere of Beethoven'sMissa Solemnis (the Kyrie, Credo, and Gloria were given) and Op. 124 Overture, but also the first performance of the composer's 'Choral' Symphony. The event was a rousing success; indeed, one of the most moving accounts of Beethoven's final years describes how the profoundly deaf composer, unable to hear the colossal response of his admirers, had to be turned around by one of the soloists so that he could see the hundreds of clapping hands!
Beethoven's Symphony No. 9 started life as two separate works - a symphony with a choral finale, and a purely instrumental work in D minor. He labored on these sporadically for almost 10 years before finally deciding (in 1822) to combine the two ideas into one symphony, with Friedrich von Schiller's Ode an die freude (Ode to Joy) - a text he had contemplated setting for a number of years - as the finale.
The finished work is of visionary scope and proportions, and represents the apogee of technical difficulty in its day. There are passages, notably a horn solo in the slow movement, which would have been almost impossible to play on the transitional valveless brass instruments of Beethoven's time. As Dennis Matthews writes: "As with other late-period works, there are places where the medium quivers under the weight of thought and emotion, where the deaf composer seemed to fight against, or reach beyond, instrumental and vocal limitations."
The Ninth also personifies the musical duality that was to become the nineteenth century - the conflict between the Classic and Romantic, the old and new. The radically different styles of Brahms and Liszt, for instance, both had their precedents in this work. On one hand, there was the search for a broader vocabulary (especially in terms of harmony and rhythm) within the eighteenth century framework; on the other, true Romanticism, embracing the imperfect, the unattainable, the personal and the extreme - qualities that violate the very nature of Classicism. When viewed individually, the first three movements still have their roots distinctly in the eighteenth century, while the fourth - rhapsodic, and imbued with poetic meaning - seems to explode from that mold, drawing the entire work into the realm of program music, a defining concept of musical Romanticism.
Beethoven's Ninth represents a fitting culmination to the composer's symphonic ouvre - a body of work that is still unmatched in its scope and seminal ingenuity - and remains a pillar of the modern symphonic repertoire.

Herbert von Karajan

Herbert von Karajan (German pronunciation:[ˈhɛɐbɛɐt fɔn ˈkaʁaˌjan]; born Heribert, Ritter von Karajan; 5 April 1908 – 16 July 1989) was an Austrian conductor. He was principal conductor of the Berlin Philharmonic for 35 years. He is generally regarded as one of the greatest conductors of the 20th century, and he was a dominant figure in European classical music from the mid-1950s until his death. Part of the reason for this was the large number of recordings he made and their prominence during his lifetime. By one estimate he was the top-selling classical music recording artist of all time, having sold an estimated 200 million records.

Biography

Genealogy

The Karajans were of Greek or Aromanian ancestry. His great-great-grandfather, Georg Karajan (Georgios Karajánnis, Greek:Γεώργιος Καραγιάννης), was born in Kozani, in the Ottoman province of Rumelia (now in Greece), leaving for Vienna in 1767, and eventually Chemnitz, Electorate of Saxony. He and his brother participated in the establishment of Saxony's cloth industry, and both were ennobled for their services by Frederick Augustus III on 1 June 1792, thus the prefix "von" to the family name. The surname Karajánnis became Karajan. Although traditional biographers ascribed a Serbian or simply a Slavic origin to his mother, Karajan's family from the maternal side, through his grandfather who was born in the village of Mojstrana, Duchy of Carniola (today in Slovenia), was Slovene. By this line, Karajan was related to Austrian composer of Slovene descent Hugo Wolf. Karajan seems to have known some Slovene.

Surname

A surname or family name is a name added to a given name. In many cases, a surname is a family name and many dictionaries define "surname" as a synonym of "family name". In the western hemisphere, it is commonly synonymous with last name because it is usually placed at the end of a person's given name.

The style of having both a family name (surname) and a given name (forename) is far from universal. In many countries, it is common for ordinary people to have only one name or mononym.

The concept of a "surname" is a relatively recent historical development, evolving from a medieval naming practice called a "byname". Based on an individual's occupation or area of residence, a byname would be used in situations where more than one person had the same name.

Berlin Philharmonic

The Berlin Philharmonic (German:Berliner Philharmoniker), is an orchestra based in Berlin, Germany and is consistently ranked as one of the best orchestras in the world.

Formerly Berliner Philharmonisches Orchester; BPO, its primary concert venue is the Philharmonie, located in the Kulturforum area of the city. Since 2002, its principal conductor is Sir Simon Rattle. Funding for the organization is subsidized by the city of Berlin and a partnership with Deutsche Bank.

In 2006, ten European media outlets voted the Berlin Philharmonic number three on a list of "top ten European Orchestras", after the Vienna Philharmonic and the Royal Concertgebouw Orchestra, while in 2008 it was voted the world's number two orchestra in a survey among leading international music critics organized by the British magazine Gramophone (behind the Concertgebouw). The BPO supports several chamber music ensembles.

History

The Berlin Philharmonic was founded in Berlin in 1882 by 54 musicians under the name Frühere Bilsesche Kapelle (literally, "Former Bilse's Band"); the group broke away from their previous conductor Benjamin Bilse after he announced his intention of taking the band on a fourth-class train to Warsaw for a concert. The orchestra was renamed and reorganized under the financial management of Hermann Wolff in 1882. Their new conductor was Ludwig von Brenner; in 1887 Hans von Bülow, one of the most esteemed conductors in the world, took over the post. This helped to establish the orchestra's international reputation, and guests Hans Richter, Felix von Weingartner, Richard Strauss, Gustav Mahler, Johannes Brahms and Edvard Grieg conducted the orchestra over the next few years. Programmes of this period show that the orchestra possessed only 46 strings, much less than the Wagnerian ideal of 64.

Origins

The word symphony is derived from Greekσυμφωνία (symphonia), meaning "agreement or concord of sound", "concert of vocal or instrumental music", from σύμφωνος (symphōnos), "harmonious". The word referred to an astonishing variety of different things, before ultimately settling on its current meaning designating a musical form.

Ludwig van Beethoven - Symphony No. 9 | Herbert von Karajan

Ludwig van Beethoven - Symphony No. 9 in D Minor "Choral" Op.125, Herbert von Karajan, 1963.
Gundula Janowitz, soprano; Waldemar Kmentt, tenor; Walter Berry, Baritone; Hilde Rossel-Majdan, contralto. Wiener Singverein, Reinhold Schmid, ChoirMaster.
Herbert von Karajan, Berlin Philharmonic Orchestra.
Recorded: Berlin, Jesus-Christus-Kirche, October & November, 1962
Deutsche Grammophon Gesellschaft, 1963.
Grand Prix du Disque
Parts/Movements
00:00 I. Allegro ma non troppo
15:28 II. Molto vivace
26:28 III.Adagio molto e cantabile
42:53 IV. Presto -
49:15 V. "O Freunde, nicht diese Töne" - Allegro assai
On May 7, 1824, Ludwig van Beethoven experienced what must certainly have been the greatest public triumph of his career. The audience which gathered at the Hoftheater adjacent to the Vienna Kärtnertor heard not only the abridged local premiere of Beethoven'sMissa Solemnis (the Kyrie, Credo, and Gloria were given) and Op. 124 Overture, but also the first performance of the composer's 'Choral' Symphony. The event was a rousing success; indeed, one of the most moving accounts of Beethoven's final years describes how the profoundly deaf composer, unable to hear the colossal response of his admirers, had to be turned around by one of the soloists so that he could see the hundreds of clapping hands!
Beethoven's Symphony No. 9 started life as two separate works - a symphony with a choral finale, and a purely instrumental work in D minor. He labored on these sporadically for almost 10 years before finally deciding (in 1822) to combine the two ideas into one symphony, with Friedrich von Schiller's Ode an die freude (Ode to Joy) - a text he had contemplated setting for a number of years - as the finale.
The finished work is of visionary scope and proportions, and represents the apogee of technical difficulty in its day. There are passages, notably a horn solo in the slow movement, which would have been almost impossible to play on the transitional valveless brass instruments of Beethoven's time. As Dennis Matthews writes: "As with other late-period works, there are places where the medium quivers under the weight of thought and emotion, where the deaf composer seemed to fight against, or reach beyond, instrumental and vocal limitations."
The Ninth also personifies the musical duality that was to become the nineteenth century - the conflict between the Classic and Romantic, the old and new. The radically different styles of Brahms and Liszt, for instance, both had their precedents in this work. On one hand, there was the search for a broader vocabulary (especially in terms of harmony and rhythm) within the eighteenth century framework; on the other, true Romanticism, embracing the imperfect, the unattainable, the personal and the extreme - qualities that violate the very nature of Classicism. When viewed individually, the first three movements still have their roots distinctly in the eighteenth century, while the fourth - rhapsodic, and imbued with poetic meaning - seems to explode from that mold, drawing the entire work into the realm of program music, a defining concept of musical Romanticism.
Beethoven's Ninth represents a fitting culmination to the composer's symphonic ouvre - a body of work that is still unmatched in its scope and seminal ingenuity - and remains a pillar of the modern symphonic repertoire.

Ludwig van Beethoven - Symphony No. 9 in D Minor "Choral" Op.125, Herbert von Karajan, 1963.
Gundula Janowitz, soprano; Waldemar Kmentt, tenor; Walter Berry, Baritone; Hilde Rossel-Majdan, contralto. Wiener Singverein, Reinhold Schmid, ChoirMaster.
Herbert von Karajan, Berlin Philharmonic Orchestra.
Recorded: Berlin, Jesus-Christus-Kirche, October & November, 1962
Deutsche Grammophon Gesellschaft, 1963.
Grand Prix du Disque
Parts/Movements
00:00 I. Allegro ma non troppo
15:28 II. Molto vivace
26:28 III.Adagio molto e cantabile
42:53 IV. Presto -
49:15 V. "O Freunde, nicht diese Töne" - Allegro assai
On May 7, 1824, Ludwig van Beethoven experienced what must certainly have been the greatest public triumph of his career. The audience which gathered at the Hoftheater adjacent to the Vienna Kärtnertor heard not only the abridged local premiere of Beethoven'sMissa Solemnis (the Kyrie, Credo, and Gloria were given) and Op. 124 Overture, but also the first performance of the composer's 'Choral' Symphony. The event was a rousing success; indeed, one of the most moving accounts of Beethoven's final years describes how the profoundly deaf composer, unable to hear the colossal response of his admirers, had to be turned around by one of the soloists so that he could see the hundreds of clapping hands!
Beethoven's Symphony No. 9 started life as two separate works - a symphony with a choral finale, and a purely instrumental work in D minor. He labored on these sporadically for almost 10 years before finally deciding (in 1822) to combine the two ideas into one symphony, with Friedrich von Schiller's Ode an die freude (Ode to Joy) - a text he had contemplated setting for a number of years - as the finale.
The finished work is of visionary scope and proportions, and represents the apogee of technical difficulty in its day. There are passages, notably a horn solo in the slow movement, which would have been almost impossible to play on the transitional valveless brass instruments of Beethoven's time. As Dennis Matthews writes: "As with other late-period works, there are places where the medium quivers under the weight of thought and emotion, where the deaf composer seemed to fight against, or reach beyond, instrumental and vocal limitations."
The Ninth also personifies the musical duality that was to become the nineteenth century - the conflict between the Classic and Romantic, the old and new. The radically different styles of Brahms and Liszt, for instance, both had their precedents in this work. On one hand, there was the search for a broader vocabulary (especially in terms of harmony and rhythm) within the eighteenth century framework; on the other, true Romanticism, embracing the imperfect, the unattainable, the personal and the extreme - qualities that violate the very nature of Classicism. When viewed individually, the first three movements still have their roots distinctly in the eighteenth century, while the fourth - rhapsodic, and imbued with poetic meaning - seems to explode from that mold, drawing the entire work into the realm of program music, a defining concept of musical Romanticism.
Beethoven's Ninth represents a fitting culmination to the composer's symphonic ouvre - a body of work that is still unmatched in its scope and seminal ingenuity - and remains a pillar of the modern symphonic repertoire.

Ludwig van Beethoven - Symphony No. 9 in D Minor "Choral" Op.125, Herbert von Karajan, 1963.
Gundula Janowitz, soprano; Waldemar Kmentt, tenor; Walter Berry, Baritone; Hilde Rossel-Majdan, contralto. Wiener Singverein, Reinhold Schmid, ChoirMaster.
Herbert von Karajan, Berlin Philharmonic Orchestra.
Recorded: Berlin, Jesus-Christus-Kirche, October & November, 1962
Deutsche Grammophon Gesellschaft, 1963.
Grand Prix du Disque
Parts/Movements
00:00 I. Allegro ma non troppo
15:28 II. Molto vivace
26:28 III.Adagio molto e cantabile
42:53 IV. Presto -
49:15 V. "O Freunde, nicht diese Töne" - Allegro assai
On May 7, 1824, Ludwig van Beethoven experienced what must certainly have been the greatest public triumph of his career. The audience which gathered at the Hoftheater adjacent to the Vienna Kärtnertor heard not only the abridged local premiere of Beethoven'sMissa Solemnis (the Kyrie, Credo, and Gloria were given) and Op. 124 Overture, but also the first performance of the composer's 'Choral' Symphony. The event was a rousing success; indeed, one of the most moving accounts of Beethoven's final years describes how the profoundly deaf composer, unable to hear the colossal response of his admirers, had to be turned around by one of the soloists so that he could see the hundreds of clapping hands!
Beethoven's Symphony No. 9 started life as two separate works - a symphony with a choral finale, and a purely instrumental work in D minor. He labored on these sporadically for almost 10 years before finally deciding (in 1822) to combine the two ideas into one symphony, with Friedrich von Schiller's Ode an die freude (Ode to Joy) - a text he had contemplated setting for a number of years - as the finale.
The finished work is of visionary scope and proportions, and represents the apogee of technical difficulty in its day. There are passages, notably a horn solo in the slow movement, which would have been almost impossible to play on the transitional valveless brass instruments of Beethoven's time. As Dennis Matthews writes: "As with other late-period works, there are places where the medium quivers under the weight of thought and emotion, where the deaf composer seemed to fight against, or reach beyond, instrumental and vocal limitations."
The Ninth also personifies the musical duality that was to become the nineteenth century - the conflict between the Classic and Romantic, the old and new. The radically different styles of Brahms and Liszt, for instance, both had their precedents in this work. On one hand, there was the search for a broader vocabulary (especially in terms of harmony and rhythm) within the eighteenth century framework; on the other, true Romanticism, embracing the imperfect, the unattainable, the personal and the extreme - qualities that violate the very nature of Classicism. When viewed individually, the first three movements still have their roots distinctly in the eighteenth century, while the fourth - rhapsodic, and imbued with poetic meaning - seems to explode from that mold, drawing the entire work into the realm of program music, a defining concept of musical Romanticism.
Beethoven's Ninth represents a fitting culmination to the composer's symphonic ouvre - a body of work that is still unmatched in its scope and seminal ingenuity - and remains a pillar of the modern symphonic repertoire.

Ludwig van Beethoven - Symphony No. 9 | Herbert von Karajan

Ludwig van Beethoven - Symphony No. 9 in D Minor "Choral" Op.125, Herbert von Karajan, 1963.
Gundula Janowitz, soprano; Waldemar Kmentt, tenor; Walter Berry, Baritone; Hilde Rossel-Majdan, contralto. Wiener Singverein, Reinhold Schmid, ChoirMaster.
Herbert von Karajan, Berlin Philharmonic Orchestra.
Recorded: Berlin, Jesus-Christus-Kirche, October & November, 1962
Deutsche Grammophon Gesellschaft, 1963.
Grand Prix du Disque
Parts/Movements
00:00 I. Allegro ma non troppo
15:28 II. Molto vivace
26:28 III.Adagio molto e cantabile
42:53 IV. Presto -
49:15 V. "O Freunde, nicht diese Töne" - Allegro assai
On May 7, 1824, Ludwig van Beethoven experienced what must certainly have been the greatest public triumph of his career. The audience which gathered at the Hoftheater adjacent to the Vienna Kärtnertor heard not only the abridged local premiere of Beethoven'sMissa Solemnis (the Kyrie, Credo, and Gloria were given) and Op. 124 Overture, but also the first performance of the composer's 'Choral' Symphony. The event was a rousing success; indeed, one of the most moving accounts of Beethoven's final years describes how the profoundly deaf composer, unable to hear the colossal response of his admirers, had to be turned around by one of the soloists so that he could see the hundreds of clapping hands!
Beethoven's Symphony No. 9 started life as two separate works - a symphony with a choral finale, and a purely instrumental work in D minor. He labored on these sporadically for almost 10 years before finally deciding (in 1822) to combine the two ideas into one symphony, with Friedrich von Schiller's Ode an die freude (Ode to Joy) - a text he had contemplated setting for a number of years - as the finale.
The finished work is of visionary scope and proportions, and represents the apogee of technical difficulty in its day. There are passages, notably a horn solo in the slow movement, which would have been almost impossible to play on the transitional valveless brass instruments of Beethoven's time. As Dennis Matthews writes: "As with other late-period works, there are places where the medium quivers under the weight of thought and emotion, where the deaf composer seemed to fight against, or reach beyond, instrumental and vocal limitations."
The Ninth also personifies the musical duality that was to become the nineteenth century - the conflict between the Classic and Romantic, the old and new. The radically different styles of Brahms and Liszt, for instance, both had their precedents in this work. On one hand, there was the search for a broader vocabulary (especially in terms of harmony and rhythm) within the eighteenth century framework; on the other, true Romanticism, embracing the imperfect, the unattainable, the personal and the extreme - qualities that violate the very nature of Classicism. When viewed individually, the first three movements still have their roots distinctly in the eighteenth century, while the fourth - rhapsodic, and imbued with poetic meaning - seems to explode from that mold, drawing the entire work into the realm of program music, a defining concept of musical Romanticism.
Beethoven's Ninth represents a fitting culmination to the composer's symphonic ouvre - a body of work that is still unmatched in its scope and seminal ingenuity - and remains a pillar of the modern symphonic repertoire.

Beethoven, Symphony No 1 - Berliner Philharmonike...

When the sun dims dramatically Monday morning, that would be like an entire power plant unit shutting down for the Lone Star State's electricity grid. The much-anticipated solar eclipse will wipe out about 600 megawatts worth of electricity generation from Texas' growing solar power industry, according to officials with ERCOT, which manages the Texas grid.&nbsp; ... "That is not very much," she said about eclipse's influence ... ....

Multiple media reports Thursday reported a van crashed into dozens of people in the center of Barcelona Thursday killing two and injuring several people. Local Spanish media say two armed men have entered a restaurant after a van crashed into a crowd of people, according to Reuters, and police consider the incident to be terror related. Local media reports say two people were killed instantly when struck by the van....

The Guardian reported that police announced one person was arrested in relation to the attack on Thursday where someone drove a white van through the busy, pedestrian area of Las Ramblas in Barcelona, Spain which has left at least 13 dead, and more than 50 injured ...Police said that the number of the dead was "bound to rise" since at least 50 people were injured after the attack, interior minister for Catalonia, Joaquim Form said ... ... U.S....

The number of asylum seekers who are illegally crossing into Canada from the United States more than tripled last month, according to new data released on Thursday by the Canadian government which hints at the deep fears that migrants have about the recent U.S. administration immigration crackdown ...The RoyalCanadian Mounted Police said that an additional 3,800 asylum seekers were arrested crossing the U.S ... "It's not a crisis ... ....

Islamic State militants have claimed responsibility for an act of terrorism in which a van struck and killed at least a dozen people on Barcelona’s most famous avenue Thursday, Reuters reported Thursday.Carles Puigdemont, the head of the Spanish region of Catalonia, said at least 80 people had been taken to hospital and around 12 had died. Officials remain unsure how many attackers were involved in the incident ... She told La Vanguardia....

Even then, his musical career was rather unassuming except for his infamous public verbal attack on the world famous conductor, Herbert von Karajan, who was rather notorious for leaving the stage after shows without waiting for applause or ever taking requests for an encore, a slight which annoyed Gibbs to no end. One night Von Karajan did this ......

By Andreina Aponte and Girish Gupta ...Mexican actress Salma Hayek praised the protesters' courage. Venezuelan soccer star Salomon Rondon called them "heroes." ... "I want to make a call to political leaders to find the ways necessary to end this crisis," Dudamel said in a video online, his moderate tone prompting one Twitter user to compare him to Herbert von Karajan, the Austrian director of Adolf Hitler's favorite orchestra ... RELATED ... 3000....

Herbert von Karajan, the most fashionable conductor of the present day - archive, 1960...The FestivalHall was crowded on Friday for the visit of Herbert von Karajan, the most fashionable conductor of the present day, and indeed a symbol of the present day’s approach to the art of music ... Karajan ... Karajan emphasised every banality of the “Transfiguration” section ... Karajan left not a phrase to sneak for itself....

This odd little book by Haruki Murakami is subtitled “Conversations With Seiji Ozawa” and is precisely that – a word-for-word transcription of taped conversations between these two masters in their respective fields ... Affectionate and admiring comments abound for characters such as Herbert von Karajan and Leonard Bernstein and the interpretive if eccentric, genius of Glenn Gould is readily acknowledged – there is little controversy....